#G8A / 310-906-4211 / bGartdealings.com
July: Jim Barrett, curated by Lily Yu
August: Martin Krammer
September: Transported. Bodies of work by Gay Summer Rick, Danielle Eubank, Tatiana Botton and Susie Loucks
October: Michelle Kingdom
November: Jim Holyoak
Late November: Ted Gall
Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art organization. Our mission is to help cultivate cultural understanding through the arts. We work to engage local communities and contemporary artists across the globe by facilitating workshops, educational programs, international art exchanges and artist residencies. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present over 27 countries
Join us at
BUILDING BRIDGES ART EXCHANGE
With the support of
Farhang Foundation & University of Baja California
On SEPTEMBER 8th @ 7:30 pm
to experience the collaboration with the artists in residence (current exhibition)
BUILDING BRIDGES ART EXCHANGE
2525 Michigan Ave, Unit F2, Santa Monica
Focusing on museum quality installations showcasing emerging artists, Copro also exhibits many established and master painters. Placing works in museums and private collections throughout the world, Copro strives to assist collectors new and experienced in building the most exciting collections possible.
right left with heels by Sebastian Majewski
July 8—August 14, 2016 / Fridays, Saturdays @ 8:00pm; Sundays @ 3pm
Box Office: 310-453-9939 or purchase tickets online: http://www.brownpapertickets.com/event/2565538
right left with heels recounts the story of the Holocaust and post-war Poland from the ironic perspective of a pair of high heel shoes that once belonged to Magda Goebbels, wife of Nazi Germany’s Minister of Propaganda. The shoes, who may have inherited her racist point of view, tell their own story: from their manufacture in Auschwitz to their tragic end on the feet of a transvestite murdered by contemporary Polish “patriots.” Magda Goebbel’s wandering shoes provide a poignant and provocative insight into individual guilt and wickedness, and addresses accountability in the face of history from the end of WW II to today’s frightening rise of the new right.
Opening Weekend Q&As with playwright Sebastian Majewski:
Polish scholar and journalist Eva Sobolevski will moderate a post-performance discussion with Sebastian Majewski after each of the first three performances (July 8, 9, 10).
There will be an additional discussion with cast and crew Sunday, July 31 after the 3:00pm performance.
Visit www.citygarage.org/ for more information.
Paint is a Thing
A group exhibition featuring seven contemporary artists who use paint to create both an object and an illusionistic space. Curated by Beth Parker.
July 9 - August 20, 2016
Reception: Saturday, July 9, 5-7pm
July 30 - August 27, 2016
Opening Reception: Saturday, July 30, 6pm - 8pm
The Los Angeles Center of Photography showcases our supporting Members' work with an annual exhibition of selected work.
The Juror: January Parkos Arnall is an interdisciplinary scholar and curator expert in photographic practice, theory and history, and grounded in modern and contemporary art movements in the United States. January is currently utilizing her comprehensive education in cultural studies and visual theory in her position within the curatorial department of the Hammer Museum in Los Angeles focusing on Public Engagement.
Exhibiting Artist: Ali LeRoi, Amy Kanka Valadarsky, Andy House, Anne-Laure Autin, Barbara Ruffini, Bonnie Blake, Carl Shubs, Carl Volpe, Caryl Lightfoot, Cassandra Plavoukos, Christopher Sheils, Daniel C. Daugherty, Deborah Arlook, Desiree Richardson, Dotan Saguy, Eric Lassiter, Eric Politzer, France Leclerc, Francis Woods, Gay Ribisi, George Grubb, Gerhard Clausing, Hal Myers, Hanna Sliz, Izumi Tanaka, J.K. Lavin, James Kao, Jane Green, Jerry Weber, Jim Starks, Jr., Jonas Yip, Karen Hymer, Kevin Weinstein, Linda Alterwitz, Lori Pond, Lou Balicki, Louis Kravitz, Mae Koo, Marcela Angeles Macedo, Marian Crostic, Matthew Denman, Maureen Haldeman, Melissa Dagodag, Merrill Anderson, Nancy Kaye, Nancy Lehrer, Norman Schwartz, Paul Ivanushka, Paula Gibson, Rafal Maleszyk, Richard O'Neill, Sebastian Spader, Stephanie Sydney, Steven Adams, Tama Baldwin, Tami Bahat and Victoria Sebanz.
Photo by LACP Member Ali LeRoi
July 6, 2016 - September 3, 2016
Reception: Saturday, July 9th, 6pm to 8pm
According to the New York Times, "Edouard Boubat (1923 - 1999) was one of France's most celebrated postwar photographers."
Boubat's lyrical and poetic images embraced his attraction to the beauty of life. His work is rich with tenderness and emotion, offering glimpses of elegance and style.
Born in Paris in 1923, Boubat was invited to exhibit with well-known photographers at the time Robert Doisneau and Brassai in 1951. In 1952 he was hired by the successful photography magazine Realites as a staff photographer.
His work has been collected and exhibited widely - at the Metropolitan Museum of Art, San Franciso Museum of Modern Art, Musee d'Art Modern, Bibliotheque National Paris, Maison Europeenne de la Photographie, Centre Georges Pompidou among other institutions.
The photographs offered and on display are signed prints from the private collection of Bernard Boubat, the son of the artist.
Mitsuko Namiki "New Paintings"
Theresa G Fernald "Recent Work"
at FIG, June 29 - July 30. Reception, July 9, 5 - 7 PM.
Gustavo Pérez Recent Work
July 9 - August 12, 2016
Artist Reception, Saturday, July 9, 6-8 PM
Suite E2, Tuesday - Saturday 11 - 6 PM
Latin American Masters gallery presents recent ceramics by Gustavo Pérez (Mexico, 1950). Among the exhibition highlights are incised ceramics, where linear passages are opened outward through the careful manipulation of the interior vessel. The resulting effect has been aptly described as a “gentle wounding”. Many of Pérez’s works feature simple, elegant forms and lyrical drawing. Some favor a more austere sculptural discourse. One remarkable piece has a darkly burnished outer form suggesting minimalist sculpture. However, viewed from above, the interior reveals a labyrinth of undulating walls, organized with an almost botanical logic. Here, as in other Pérez works, we feel the inspiration of nature enlivened by the imaginative hand.
Gustavo Pérez has exhibited widely throughout Europe, Asia and the United States. Regarded as Mexico’s greatest living ceramicist, he has received solo exhibitions at both the Museum of Modern Art (1999) and the National Palace of Fine Arts (2012).
Pérez ceramics are found in important collections, including: Los Angeles County Museum of Art (LACMA); Montreal Museum of Fine Arts, Montreal, Canada; Saga Art Museum, Saga Prefecture, Japan; Westerwald Ceramic Museum, Höhr-Grenzhausen, Germany; and Benaki Museum, Athens, Greece.
July 26-Oct 29
Group Exhibition Featuring Artists Cara Barer, Heather Carisch, James Lecce, Katherine Tzu-Lan Mann, Maureen McQuillan, Kristina Quinones, Randall Stoltzfus
SPECTRUM brings together seven artists from across the country with vastly different practices, who are united by their intrepid handling of color as an evocative agent of expression.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
July 16th, 2016 – September 4th, 2016
Opening reception Saturday, July 16th, 6-9pm
Coan incorporates taxidermy into dreamlike life-size dioramas, challenging how we think about our relationship with the natural world; “what wildness means, what scares us, what makes our hearts sing”. Taking cues from the classic taxidermy houses of Paris, Coan uses her skills as an artist to bring the exotic into the everyday. Catherine explores the relationship between nature and humanity by creating taxidermy hybrid animals, which brings together animals that might not naturally encounter one another in nature and mankind’s history of experimenting on animals, genetic engineering, and animal cloning. Coan places them into her life-size maquette, which is constructed months before installation, using wallpaper, painted antique furniture, altered and framed prints, and mounts. Catherine decides compositions intuitively, usually by the position of the taxidermic bodies in the diorama, or by hair pattern, and how they will fit into their surroundings. She then edits and corrects until she is satisfied with the piece’s appearance.
July 16th, 2016 – September 4th, 2016
Opening reception Saturday, July 16th, 6-9pm
In this series Hill drew inspiration from the 15th century Flemish renaissance style portraiture while incorporating the contemporary subject matter creating a contrasting vision of the modern world.
Inspiration came from a love of the fashions captured in the tradition of 15th century portraiture and the aesthetic created by the rich fabrics and elaborate dresses. Finding modern fashions to capture the same impact Hill drew from the sub culture movements, such as punk and bohemian.
Hill begins with an original master portrait which is manipulated digitally to create the structure for her piece. She then uses a model to provide the modern fashion references often having her subject hold an object. Unlike the master works which used the objects held as status symbols, Amy choses objects that relate more to the materialistic nature of our modern culture. Once the image has been constructed digitally, a combination of the original works and her photographed model, she paints the image in oil on wood board. By constructing images in such a way hill has fabricated a fictional subject but through the decoration and attire she maintains the sense of authenticity and familiarity.
In this collection, Hill has utilized the aesthetic of both the classical and the modern in a format that compels the viewer to contrast contemporary and traditional notions of status and beauty.
Amy Hill graduated from Carnegie Melon in graphic design. She lives and works in New York City, New York. Her work has appeared in galleries in New York and across the country.
"OUTSIDE IN II"
July 16th, 2016 – September 4th, 2016
Opening reception Saturday, July 16th, 6-9pm
Kho works iteratively and intuitively, where an initial idea is brought to light through the process. Digital and analog media are melded together to create unique window paintings. Phil’s process starts with the window being constructed from wood. Next Kho collects digital images from the internet, then further combines and manipulates them in Photoshop. This digital image is then printed onto canvas. Lastly Phil intuitively chooses which areas to paint over. This layering process illustrates Kho’s big picture of acknowledging time and place. In this continuation from the previous show, Kho captures different facets of life, whether it be nature, city life, or architecture.
Inspired by varied artists from past and present such as architect Frank Gehry to the more interdisciplinary artist Bruce Nauman, Kho’s use of mixed media calls to mind our culture’s image saturated world. The usage of the window as a framing device brings to attention the duality of inside and outside. The vibrant color palette of his work emphasizes the vividness of our world. These recent works display a further exploration of the previous themes Kho has been invested in
In a world where people are digitally connected to each other, it is adversely true that people are more isolated and alone. Kho’s work invites the audience to examine the expansiveness of our environment and to connect with that enriching history and culture.
PHIL KHO received his BA in visual communication at Hongik University in Seoul, Korea; his MFA in graphic design from California State University, Los Angeles; and his MS in visual communication at Pratt School of Art and Design in New York. He spent eight years as a professor of design in the fine arts department at the University of Suwon in Seoul. Kho has been an urban designer for over 20 years and an artist for over 50 years. He has written 10 books and dozens of articles on urban design.
Lora Schlesinger Gallery presents After Images featuring a new series of paintings by Laura Lasworth. Lasworth’s paintings are a manifestation of masterful control of color, shape and form. Each work rich in surface and content, is coded with symbolism that poignantly addresses themes of life, death and spirituality. The show opens with the artist’s reception on Saturday, July 30th from 5:00 – 7:00 pm.
Lasworth is known for her sophisticated use of religious, philosophical and personal symbolism. Her work recalls classical allegory and medieval iconography. She extracts subjects from text, bridging the familiar with the sacred, creating images that are mysterious and otherworldly. Since 2001, her method has resembled that of a long-form writer. In her elaborate cycles of paintings, each panel functions as a chapter. Through the paintings a narrative slowly emerges, coaxing a careful reading. Lasworth’s images echo scripture and sacred history, yet they refrain from didacticism and literalism. Instead her paintings exhibit a respectful melancholy, as if they must span unbridgeable distances. The result is not a sense of futility, but of hope and impending miracle.
Laura Lasworth received her Bachelor of Fine Arts Degree from the Art Institute of Chicago and her Masters of Fine Arts from the California Institute of the Arts. Her paintings have been exhibited nationally in numerous solo and group shows that have been featured in the publications Art in America, Artforum, the Los Angeles Times and IMAGE Journal.
Lora Schlesinger Gallery presents Flowers from Mars, a series of small-scaled paintings by Laurel Bustamante. Like Persian miniatures, Bustamante’s paintings are elaborate and enticing. Flowers from Mars combines carefully painted human-interpreted flora with otherworldly environments. The environments are constructed with washes of gouache and acrylic paint to create ethereal and atmospheric settings, where microscopic gardens float and flourish. Laurel finds abstraction to be more poetic in expressing nature than realism. Researching botanical motifs found in history is an important part of her process. By combining and contrasting highly rendered flora within atmospheric and abstract settings, she is exploring the schism in the human brain between our delight in nature and our global inability to maintain it. Each painting develops organically without a predetermined plan. The contrast between vaporous washes and tiny brushwork is extreme and requires a slow, contemplative process.
Laurel Bustamante received her Bachelor of Fine Arts from Southern Oregon University, Summa Cum Laude. In 2013, she was the finalist for the Portland Art Museum Contemporary Northwest Art Awards, in Portland Oregon. She was awarded the Crater Lake National Park Artist Residency in 2001 and the Artist on Location Project in Antilles, Netherlands in 2000.
John Newsom and Rinus Van De Velde @ Patrick Painter, Inc.
Patrick Painter is pleased to present an exhibition featuring large-scale works by artists John Newsom and Rinus Van De Velde.
Joakim Ojanen: What a Time to be Alive :(
June 25th - July 30th, 2016
What A Time To Be Alive :( contains new ceramic sculptures and oil paintings by Swedish artist Joakim Ojanen. This is Ojanen's first solo exhibition at Richard Heller Gallery and in the United States.
Ojanen has been living in Los Angeles for the past few months creating work for this exhibition and will be attending the opening reception on June 25.
About the artist:
Joakim Ojanen's artwork embodies the inner child within all of us. He creates a deeply personal universe full of unique characters that automatically win the heart of the viewer with their sincerity. His paintings and ceramic sculptures capture genuine moments of human expression. When they are grouped together they create delicate and emotionally charged narratives. While maintaining a sense of humor they manage to hit an intense spot in the human psyche, perhaps a subconscious adolescent need none of us ever get over; the desire to belong. Piece by piece each of Ojanen's works tells a story about finding one's way in the world and reminds us it's okay to be ourselves.
Ojanen's distinct and organic path as an artist begins in Västerås, Sweden. He entered into the arts through graffiti. For him, it was a creative outlet, which intrigued his interests in other types of art mediums. He learned how to use animation programs and began to make short movies and music videos. He also pursued drawing, publishing fanzines and organizing art shows.
These endeavors led to his enrollment in the Illustration and Graphic Design program at Konstfack, University College of Arts, Crafts and Design in Stockholm. After a couple of years, he decided illustration wasn't for him. Seeking a hobby, Ojanen signed up for a ceramics open studio session outside of school. It was during these sessions that he started to make sculptures from his drawings.
Ojanen's passion for independent studies has fostered an extensive understanding of his materials. In fact, it is his relationship with paint and clay that guide him in each of his creations. He embarks on making his portrait paintings by first drawing a small sketch. Bringing it to the canvas, he aims to make his idea come alive. There is a negotiation that happens between the paint and his brush strokes. The resolution determines when each painting is complete. To start his sculptures Ojanen goes straight to the clay. Once the process is initiated he then allows it to take the lead until a finished piece emerges.
His ability is demonstrated well in Sitting Wondering a sculpture that depicts a boy hugging his knees while grasping a pen and notebook. The use of texture and precise gesture reveals a vulnerability that resonates long after viewing it. And in turn, the audience is invited to explore a deeper level of intuition.
One notices Ojanen's iconography is reminiscent of a comic book language. In pictorial terms, his artwork hints at the works of Philip Guston, Keith Haring and at times the Surrealist paintings of Salvador Dali. However Ojanen states, 'It's dangerous to look at one artist too much.' Instead, a framework of emotions structures Ojanen's introverted creative process. 'I work a lot with feelings. I would say that is the main core of my work. It's about finding the right posture, the right eyes, smile and so on, (in order) to capture something I couldn't make up in my mind. It's about trying until I get something that feels right.'
Ojanen cites music as his biggest source of inspiration to his artwork – and lists his favorites as Drake, Young Thug, and Wu-Tang Clan, just to mention a few. Listening to rap while working in his studio is an integral part of his process. As he interacts and alters his materials he harnesses the raw energy of it and reflects the autobiographical lyrics in his use of narrative.
A genuine talent, it is worth spending time navigating through his profoundly sensitive universe of work. Ojanen exhibits his art widely in Sweden and is represented by the Richard Heller Gallery in Los Angeles.
- Laura Mylott Manning is a New York-based artist and writer. She holds a BFA from Rhode Island School of Design and is a contributor to the WCPUN journal Centerpoint Now. firstname.lastname@example.org
With support by The Swedish Arts Grants Committeé
MED STÖD AV KONSTNÄRSNÄMNDEN
WE ARE NOT ALONE
Artist Talk : Saturday July 30th
Opening Reception : Saturday July 30th 5-8pm
Exhibition : July 30th - August 27, 2016
ROSEGALLERY is pleased to present Dirk Braeckman’s premiere west coast, solo exhibition, on view from 30 April 2016 through 13 August 2016. The reception for the artist is Saturday, 30 April 2016, from six to eight pm.
First experimenting with photography in the 1980’s, Dirk Braeckman’s work has evolved into a singular form that evokes minds of sensual ambiguity and intimate solitude. Through the use of black and white, analogue photography and dark lab techniques, the artist develops a relationship between what is photographed and post-production manipulation. This relationship allows for the found, often commonplace subject…a row of curtains, an empty doorway or a woman’s crossed legs…to arrest attention and command a space that is ordinarily unobserved.
Braeckman transforms the darkroom into a field of experimentation, working closely with the materiality of the photograph. This intimate relationship with his photographic materials mirrors the intimate perspective when photographing his subjects. By utilizing tonalities of the gray-scale and focusing on acute details, such as the folds of afabric or the curvature of the female form, Braeckman asks the viewer to engage with simple subjects that are often lost in shades of gray.
Seiko Tachibana "Link"
June 11 - July 23, 2016
Ruth Bachofner Gallery is pleased to announce an exhibition of new work by Seiko Tachibana. There will be a reception for the artist on Saturday, June 11, 6-8 PM.
Recognized as one of the Bay Area’s premier printmakers, Seiko Tachibana's work is built around concept of connectivity and creating unified wholes from smaller pieces. This has been a central theme throughout her career, and continues as she moves from printmaking to working more with ink and acrylic.
Seiko Tachibana engages a graphic language of delicate markings to impart the sense of a slow organic process whose floating, mutating motion has been suspended and magnified. Using incredibly fastidious markings, the artist creates an array of fanciful, clustered images with botanic, celestial, cellular and aquatic references. While in past work these interactions occurred on spare, muted backgrounds, Tachibana now includes a more painterly approach. Dripping, scraped and layered washes adds a physicality to the work and imparts a more emotive immediacy to the work. The result is a series of quiet, poetic spaces shaped by Tachibana’s technique that is at once exacting and playful.
Seiko Tachibana was born in Osaka, Japan and attended Kobe University. She received her graduate degree in printmaking from the San Francisco Art Institute and currently lives and works in the San Francisco Bay Area. Her prints are in numerous collections both in the United States and abroad including the Los Angeles County Museum of Art and the Achenbach Foundation for Graphic Arts at the California Palace of the Legion of Honor, The Portland Museum and The Royal Museum of Fine Art, Antwerp.
RuthTrotter "Frames of Reference"
June 11 - July 23, 2016
Ruth Bachofner Gallery is pleased to present Frames of Reference, an exhibition of new work by Ruth Trotter. There will be a reception for the artist on Saturday, June 11, 6-8 PM.
In her first exhibition at the gallery, Ruth Trotter brings together a series of paintings that embody a narrative between material and inner spaces that the artist explores through abstraction. The physical progression of her paintings and the psychological spaces she accesses through her process generate a series of intimately scaled paintings, dense with opposing forces and harmonies. Each of her paintings, which initially come off as flights of painterly fancy, are studies on the focus of intention. Seemingly intuitive smears and sketches that sit next to geometric shapes and sharp lines, converge as systematically as paragraphs in a sentence. The forms build and jostle in painterly stories shaped from numerous reference points. While the artist does tap her intuition as a means to an end, the final works are grounded with a crisp grittiness - her blithe palette gives a feminine edge to paintings that seem at once to carry the levity of a bright Mediterranean landscape, and the rough patina of a graffitied, painted, worked urban wall.
“I consider the paintings narrative abstractions that represent versions of things that may be known or unknown, visible or invisible,” Trotter states. “The paintings are constructed with an emphasis on physicality, color, and space. Through the physical process of building and re-building the surface, adding and removing marks, strokes, and layers, the paintings embody the idea that true perception requires both cognition and intuition in flux-- as does the creative process. For me, this presents a complex and subjective dynamic that is continually played out between the art and the viewer.”
Ruth Trotter is a painter and Professor of Art at the University of La Verne in Southern California. She received her B.A. from Scripps College and her M.F.A. from Claremont Graduate University. Her paintings, prints, and drawings have been exhibited nationally and internationally. As well as maintaining a studio practice and teaching, Trotter has extensive curatorial experience and has served as a panelist and advisor to several arts organizations in the Los Angeles area.
SECONDARY MARKET MODERN & CONTEMPORARY FINE ART
PAINTINGS | PRINTS | PHOTOGRAPHY | MULTIPLES | SCULPTURE
Submissions - please email jpegs and information to: email@example.com
Lift Me Up So I Can See Better
July 09-September 03, 2016
Opening Preview July 09th 5-7pm
Shoshana Wayne Gallery is pleased to present Lift Me Up So I Can See Better by Shirley Tse featuring over thirty new sculptures and a hand-made collaborative book. This is the Los Angeles based artist’s fifth solo exhibition with the gallery. The exhibition will be on view July 09 through September 03, 2016, with an opening preview on Saturday, July 9th from 5-7pm.
Taking Oscar Wilde’s 1888 book “The Happy Prince and Other Tales” as her point of departure, Tse’s new body of work evokes the form of eyeballs as her sculptures address both seeing and the position from which one sees. As an adult re-reading this story, Tse was struck by the Prince’s ability to see “all the ugliness and misery of [his] city” once he was set up high on a column outside the walls of his Palace. Tse perceives Wilde’s parable as particularly prescient of our socio-economic climate, where gaps between classes and cultures are widening at an alarming rate. Analogous to Wilde’s townspeople, who were gifted the Prince’s sapphire eyes and rubies from his sword, Tse received an unexpected gift of blown glass remnants from the Estate of Miriam Wosk, a recently deceased artist. Contemplating the possibility that generosity may flow if one is able to see from a different vantage point, Tse utilizes the gestures of ascending, reaching and telescoping with the incorporation of C-stands, boom microphone stands, tripods, and stadium bleachers throughout the exhibition. Seeking a broader perspective also suggests the possibility of turning passive spectatorship into active spectatorship. Various colors of glass chunks housed in different materials exhibit themselves as heterogeneous sculptures hovering between the figurative and the abstract, the found objects and the imagined forms, the literal and the metaphorical.
“J....” a limited edition hand-made artist book, is exhibited for the first time in the West Gallery. At the invitation of Gervais Jassaud, Tse collaborated with French writer Michel Butor whereby she
produced a visual response to Butor’s poem, “J….” In Tse’s words, “I usually work with sculpture and installation. The prospect of making “work on paper” was liberating for me. Literally, textually and metaphorically, Butor’s words provide the architecture for these sculptural explorations on paper. I want to honor the sense of place, the richness of texture, and the obliqueness in “J….” My artwork may not be congruent with the mental images evoked by the words. When the reader/viewer negotiates between the two modes of experience, it is where richness resides.”
For more than twenty years, Tse has dedicated her practice to visualizing heterogeneity through sculpture, installation, photography, and text. From multiplicity of difference on the same plane, to negotiation of an integrated whole, strategies are as various as putting competing aesthetics under the same roof, examining the semiotics of plastics, expanding the language of movement, using found objects as suspension of subjectivity, researching concurrent narratives, conflating scales, destabilizing categories and calling attention to the interstitial.
Shirley Tse has exhibited extensively at venues in the United States and abroad including, the House of World Cultures, Berlin, Germany; the Herbert F. Johnson Museum of Art, Cornell University, NY; The Art Gallery of Ontario, Canada; the Wexner Center for the Arts, OH; The Biennale Ceara America, Brazil; MoMA P.S.1, NY; The New Museum, NY; The Biennale of Sydney, Australia; The Weatherspoon Art Museum, NC; and the San Francisco Museum of Modern Art amongst many others. Tse
has been the recipient of prestigious grants and awards such as the California Community Foundation Fellowship for Visual Artists (2012) and the John Simon Guggenheim Memorial Foundation fellowship (2009). Tse lives and works in Los Angeles.
For more information contact Alana Parpal firstname.lastname@example.org
Gallery hours are Tuesday though Friday 10am to 6pm, and Saturday 11am to 5:30pm.
July 09 - July 30, 2016
SLOAN PROJECTS is pleased to present WORK / W=Fd, a multimedia installation by Isabelle Harada. On view July 9 - July 30th, 2016. A reception for the artist will be held Saturday, July 9 from 5-7pm. This is the artist’s first solo show with the gallery.
Isabelle Harada’s WORK / W=Fd consists of 999 golden paper cranes suspended from the ceiling and a looped projection on a single unfolded sheet, bathed in an artificial sunset. An allusion to the Japanese tradition of the origami crane and its mythical origin, the installation explores the nature of time and energy in terms of materiality and the virtual.
It is said that if one folds 1000 paper cranes, a crane will grant you a wish. Traditionally, a Japanese woman will fold 1000 cranes during her engagement, which her father presents to the groom upon their marriage. As representations of the work one should be willing to do on behalf of their partner, each crane can be seen as an object that encapsulates a specific amount of time and energy: they take approximately 10 minutes to fold and each requires the same series of folds and “force” to complete.
In the aftermath and deconstruction of her engagement to be married, the artist found that there were two different concepts of how to put work into a relationship: material and virtual. During the conflation of the two - the virtual work had potential to circumvent the actualized and vice versa. The weight of the unfolded sheet is indicative of this critically distracting moment.
In his book, In Praise of Shadow, Junichiro Tanizaki writes about how the traditional Japanese aesthetic works within the constraints of the physical world - specifically with regard to light and shadow. The gold foil in lacquerware is supposed to be viewed by candlelight, emerging from darkness while dinner is being served. Tanizaki comments that to see them in harsh, artificial light, cheapens their experience, making them less appreciable in western cultures that light their world without finding beauty in darkness. Working with the refractive behavior of photons, the Japanese traditionally lighted some of their rooms according to sunrise and sunset by putting windows at the tops and bottoms of walls to capture the differences in hues.
Harada’s installation plays with these aesthetic concerns through the framework of personal and historical narrative, shining a spotlight on incongruities that appear during the construction of visual metaphor. Presenting the dichotomies of energy/production/material vs. potential/strategy/virtual, the artist illuminates the spectral nature of such convenient categorization and refocuses on moments of overlap.
ISABELLE HARADA (b. 1992 Cambridge, MA) is an installation artist based in Los Angeles. She earned her BFA in Animated Arts from the Pacific Northwest College of Art, and is currently an MFA candidate in Art & Technology at the California Institute of the Arts, Valencia, CA. Harada’s work centers on virtual and physical identities and incorporates sculptural, projected, and sonic elements.
July 12th– August 6th
Suki Kuss – When Women Were Birds
Camey McGilvray - Mad As Hell
Daggi Wallace - Wende/Transformation
Opening Reception: Saturday, July 16th, 2016 from 5-8PM
Artist Panel: Saturday, July 30th, 2016, 3pm
Suki Kuss – When Women Were Birds
In her latest exhibition, entitled When Women Were Birds, artist Suki Kuss continues her exploration of space and balance. After careful navigation, her artistic pilgrimage has led her to the world of femmage, a conflation of textile art and painting, pioneered by Picasso in 1912. The genre has transformed into an idiom of female empowerment, designed to confront sexist thought while dignifying and empowering women artists.
Using elements of embroidery, vintage laces, sheet music, fabric and dress patterns, Kuss utilizes a grid format to draw focus and allure to her abstracted “quilts.” Scholars believe that femmage was first used to advance the origin of collage as women’s work, i.e. “quilting and patching together, however, Kuss has developed her own interpretation of the craft.
Implementing traditional feminine pieces and textures throughout her collages and artworks, When Women Were Birds acts as a stark response to the patriarchal history of art. Although Kuss’ subdued palette differs from the bold colors of the original femmage work, there is an added element of contemplative quietude that reflects the delicate touch of a woman’s hand. Symbols of traditional male power are subverted for the feminine and delicate. And yet, Kuss’ work illustrates that the delicate, can be, and is in fact, powerful
Camey McGilvray – Mad As Hell
The title of artist Camey McGilvray’s newest exhibition, MAD AS HELL, comes from a legendary call to arms: In the iconic film Network from the ‘70s. TV commentator Howard Beale tells his audience, “All I know is first you’ve got to get mad.” He asks the viewer to get up right now, go over to the window, open it, stick your head out and yell, “I’M MAD AS HELL AND I’M NOT GOING TO TAKE IT ANYMORE!”
McGilvray senses the palpable anger in America today, much of it directed toward our representatives in Washington. “People from all segments of society and both ends of the political spectrum have reached the anger stage. They are fed up and are demanding change for the better from our elected officials.” In her artwork, McGilvray targets these culprits, whom she sees as over-promising and under-delivering.
The look of the show is bold and striking. All pieces are aluminum and only one other color, black, is used in each of the vividly described scenes. Crows are used to advance the narrative and when they speak, they do so in grawlix. “I love crows.” Says McGilvray. “They are mysterious and magnificent and can portray every emotion.”
McGilvray sees our elected officials in Washington as mostly a bunch of entrenched old crows sitting around talking past one another and that is the way she has depicted them in her artwork. “They care more about power and getting reelected and are more responsive and beholden to lobbyists than they are to their own constituents. They need to know that We the People are MAD AS HELL and we’re not going to take it anymore!”
Daggi Wallace – Wende/Transformation
Artist Daggi Wallace’s debut exhibition at TAG Gallery explores her keen interest in portraying the human condition and our sublime connection to one another, our similarities, and the common struggles and joys we all share. In “Wende/Transformation” Wallace has created detailed, yet striking imagery that pushes the boundaries of realism while simultaneously peeling back the layers of her own personal journey of self-discovery to draw in the viewer and elicit a strong emotional response.
This exhibition examines the endless contradiction and effects of the walls behind which we often find ourselves. They are real and physical, imagined and psychological. They make visible one’s fears, anxieties and insecurities. They separate and yet offer a common purpose. They divide us yet invite us to scale them and tear them down, to come together again. They offer comfort, though false, yet feed hate and fear. They isolate and protect. Walls keep people out AND in. They shelter us and yet make us want to break free. They repel and tempt. They control and we rebel. They are a prison and a freedom. We can choose to erect them or tear them down.
For nearly 30 years, William A. Karges Fine Art has been the preeminent art dealer specializing in early California and American paintings. With galleries in Carmel and Santa Monica, Karges Fine Art carries one of the most varied, high-quality, historically significant inventories of paintings available on the West Coast.
Ed Moses MOSES@90 Phase Two
June 25 - July 30, 2016
William Turner Gallery is pleased to present Moses@90, an expansive survey exhibition that will present Ed Moses' innovation in drawing and painting. The installation will occupy two venues: William Turner Gallery and the former Santa Monica Museum of Art building at Bergamot Station.
On the occasion of Moses' 90th birthday, the exhibition will celebrate the varied and prolific career of this indelible Los Angeles art world fixture. A painter and "mutator", whose allegiances have been to tireless experimentation rather than to the tenets of any one movement, Ed Moses has been honing a distinct visual vocabulary for over 60 years, obsessively mining the possibilities of abstraction. At 90, Moses continues his dogged search for the elusive metaphysical power of painting, creating works that are about the expression of temporality, process and presence, beyond the physical limitations of surface.
The exhibition will survey works spanning the entirety of Moses' career, including a selection of never before seen paintings. Earliest examples include meticulous architecturally inspired drawings from the 50s, the well-known Rose and patterned graphite drawings from the 1960s and 70s, cross hatch and screen paintings, looser gestural paintings from the 1990s, and more recent works that include the craquelure and mirror paintings. The restless energy with which Moses has borrowed from pre-existing formal vocabularies and adapted their morphologies to make them his own, attest to the mutable nature of his vision. A self-described "mark maker," his concerns exceed formal ones and slip easily into philosophical and anthropological spaces. He has described his own process as a shamanistic offering, a self-assertion and proof of existence left for posterity to the "tribe"; a primitive desire to leave one's mark. Above all else, the work is about the process of making, and the fragile reconciliation of chaos and control it requires. In Moses' own words: "The point is not to be in control, but to be in tune."
A member of the original stable of artists showing at LA's legendary Ferus gallery, Moses exhibited there for the first time while still an MFA student at UCLA in 1958. Exhibiting among the likes of Billy Al Bengston, Robert Irwin, Ed Kienholz, Larry Bell, and John Altoon, all of whom became known as the fabled "Cool School," Moses was among those who shaped the infancy of the West Coast art scene. A maverick among them, given his preference for process driven abstraction over strict adherence to the Finish Fetish and Light and Space movements championed at the time, Moses has always done things a bit differently. With an itinerant aesthetic, he has continued to embrace transformation and change as a matter of course. In 1974, following an exhibition in New York with André Emmerich, Clement Greenberg himself immortalized Moses as a "player."
Ed Moses works daily, preferring to create out of doors en plein air. His unique Venice, California studio accommodates this freedom structurally with fluid transitions between indoor and outdoor spaces. This is the artist's third exhibition with William Turner Gallery. Previous exhibitions include, Ed Moses: Now and Then (2015), and Ed Moses & Larry Poons: The Language of Paint (2014).